When I want to emphasise fragmentary flashbacks for the benefit of the narrative, I like to reuse old utility items. “Memorial” (2018) has a protective casing around the fragile content of repurposed china. The foundation is partially burned, a method I like to use time and time again to bring to life abstract thoughts about memories. It can be seen as an attempt to move the object from a less active state to an active one, retrieved from a metaphorical archive. Something that is or can be a remnant.

Photo: Melanie Wiksell

I work with traditions and customs related to the history and intellectual cultural heritage of death. My work is influenced by references from my Swedish and Cypriot origins. By looking back on the rituals and history of grief, I view my works as material proposals to link past, present and future. I want to emphasise the ambiguity of memory and shine a spotlight on metaphors for its nature. To me, a balanced composition is a work with traces of history and location. These conditions make it possible to stretch the boundaries between art, reality and story.

How do people perceive the presence of symbolism?